A 20 pasos de la fama

Rather disappointing Academy Award winner for Best Documentary, the more so as it was competing against and won over «The Act of Killing», (photographed by a former student of mine, Carlos Arango de Montis), which is by far the superior work, from any angle that you look at both.

Some people claim that saying this is discrediting the struggle of female backup singers, which I do not believe is true. Those persons judge «Twenty Feet from Stardom» from what they consider is a higher standard of documentary filmmaking. And from that point of view, Morgan Neville's film is at least below the account of Indonesian murderers presently on power, which merited the Oscar or any other award more than the story of Darlene Love, Merry Clayton and others.

Above anything else, this is a sentimental, nostalgic trip dedicated to the unsung talent of many great singers (among them, my friend Táta Vega), told in a fashion reminiscent of a television report, only extended to 90 minutes. There are though some major omissions, as Katherine Anderson Schaffner, an original member of The Marvelettes, a group whose artistic name -according to legend- was lost in a card game by Motown founder Berry Gordy; and ex-Supreme Mary Wilson, who could have told many a few controversial anecdotes, unless the filmmakers consider that she reached stardom during her Supremes years and thereafter.

Maybe the Academy members were trying to make up for ignoring in 2002 two similar (and superior, for me) documentaries, «Standing in the Shadows of Motown» and «Only the Strong Survive» (both from 2002), that were not even nominated.

There are some people who toil anonymously in the music business: session musicians, recording engineers, producers and so on. And then there are the backup singers. Many of those, probably most dream of being out front, becoming a star, and gaining worldwide fame, applause, respect.

For most, it doesn't happen. Once in a while somebody breaks through: Whitney Houston, Mariah Carey, Elton John, Barry Manilow, Sheryl Crowe, Phil Collins. More often, it's a day job, and they are called for sessions, sing their part and go home. Sometimes they will be a permanent part of the act, like the Raylettes with Ray Charles, but they don't get the big rewards the upfront star does.

Such is the story of "20 Feet From Stardom", where we meet a half dozen or more who have had a career in the back light, occasionally getting the break to record their own album, and then ... nothing. Darlene Love was the voice of the Crystals, except Phil Spector kept slapping somebody else's name on her recordings and she got nothing. (She ended up cleaning houses for a living. But two years ago, in much belated recognition, she was inducted into the Rock & Roll Hall of Fame.) Merry Clayton is another; she's the haunting female lead on the Stones "Gimme Shelter", but as a solo artist she just never took off.

It's a well constructed film, and if a bit indulgent here or there, it's just a matter of choice in the editing booth, not a failure of the director to deliver.

If you have any interest in the music industry, or have ever thought of a career as a singer, this is a great lesson on the realities of that business. (This would also apply to acting, where "That Guy" did a similar riff on that equally competitive business.

Of course it's worth noting that while there are lots of people "20 Feet from Stardom", there are legions more who never even get that close, and who wind up singing in saloons, street corners, and even subway stops. It's a tough world out there. "20 Feet From Stardom" picks a point closer to the pinnacle, but not quite, and that's what makes it interesting.

This is a documentary of the background singers we've been listening to for decades. People whose singing we actually sing or hum to without ever knowing who they are. They work in the studios and live on stage with The Rolling Stones, David Bowie, Sting, and many, many others. That magic that works in the studio or on stage as background singers is undeniable but may not necessarily be there for them when they try to branch out on their own as a lead singer. They are talented for sure and many songs wouldn't sound anything like they do without back up singers.

The documentary is good however, something is missing. Who actually calls the singers for a gig? Who actually pays them? How are they paid? By the hour? By the session? How did they get started? Where was their first gig? None of this spoken of and there is a sense that perhaps the interviewers were told that they shouldn't dig too, too deep.

Not bad but left me wanting more.

This documentary is another in a recent cycle that looks at those from the music industry who have been neglected in some way. In 'A Band Called Death' we learn about an innovative proto-punk band who never even got a chance to record an album and were only rediscovered over 35 years after recording their demo tapes, in 'Anvil: the Story of Anvil' we follow a band who have maintained a very mediocre level of success over a very long time and in' Searching for Sugarman' we are given the incredible story about a musician who released a couple of records that no one bought and who vanished without a trace for quarter of a century. The angle that '20 Feet from Stardom' is coming from is very similar but with a twist – this is the story of neglected musicians who are in actual fact the voices of the sounds that have been in ours heads our whole lives.

It centres on a selection of classy African American female backup singers who recorded vocal accompaniments for a series of stars from the 60's to the present day. While they were essentially voices for hire, often it was their vocals that made the songs so good – listen to David Bowie's 'Young Americans' and tell me that it's the backing vocals that aren't the best part. But the story has a sadness, as these incredible singers rarely got beyond the backup part of the act. Sometimes they tried and their career stalled. This was because being a successful solo artist requires so many variables such as songs, charisma and determination. While it also needs the marketing powers of the record label. All these ingredients are not necessarily a given for someone with a beautiful voice. However, in some cases actual exploitation seems to have occurred as in the case of Darlene Love, who was used by producer Phil Spector as the voice that the girl group The Crystals claimed as their own but even more unforgivably, Spector got Love to record a track promising it was going to go out under her name only to surreptitiously give it to The Crystals again.

The film uses a talking heads format, with contributions from a variety of stars that used backup singers such as Mick Jagger, Bruce Springsteen and Sting. There is also priceless archive footage of the likes of Ray Charles and, best of all, Ike and Tina Turner. Sometimes we even get to deconstruct a famous song to hone in on the backup vocals, such as in the case of the track 'Gimme Shelter' which is very possibly the best song the Rolling Stones ever recorded. We hear the backup vocal in all its isolated glory and it becomes very obvious that without it, this song would simply be nowhere near as powerful. So, let's hear it for those unheralded women who have filled our heads with such beautiful sounds all these years. This is their moment of recognition and they deserve it.

Greetings again from the darkness. "And the colored girls go do doo doo, do doo ...". The controversial lyrics from Lou Reed's "Walk on the Wild Side" kick off this exceptional documentary about the oft-ignored back-up singers who have played (and continue to play) a huge role in some of the biggest songs of all-time. You may not know their names, but you have undoubtedly sung along with them while driving or taking a shower.

Director Morgan Neville has a credit list filled with music shorts and documentaries. One of my personal favorites of his is The American Masters on Muddy Waters. I recalled that while watching this one because Neville does a nice job of connecting the dots from Gospel, Blues and Soul to the roots of Rock and Roll. The main women featured here all admit to being daughters of preachers, and fine-tuning their ability to harmonize during their youth while singing in the church choir.

Most of the interview time and insight comes from Darlene Love, Lisa Fischer, and Merry Clayton. You may not recognize the names or faces, but you will surely recognize the voices. Ms. Love has been elected to the Rock and Roll Hall of Fame, and may be best known thanks to her annual appearance on the David Letterman Show at Christmas. Ms. Fischer is the most frequent worker today of the three as she tours with Chris Botti, Sting and The Rolling Stones. However, the heart-stopping climax of the film belongs to Merry Clayton, as we are treated to her isolated vocals from the master on her infamous performance on the single "Gimme Shelter". Hearing her raw voice blast out "Rape. Murder. It's just a shot away" is both exhilarating and gut-wrenching. To hear her tell the story is mesmerizing. One of my favorite movie moments ever.

While we see and hear the personal stories filled with frustration and regrets, we also see an inherent love of music and the appreciation for their particular gift. We also hear from Tata Vega, Dr. Mabel John (a former Raelette for Ray Charles), and Claudia Lennear. With many similar stories of their quest for solo careers, we get the contemporary version with Judith Hill, a twenty-something working back-up today as she strives for a solo career. The parallels are obvious with her older peers.

Another excellent feature of the film comes in the form of interviews from the likes of Bruce Springsteen, Sting, Stevie Wonder, Lou Adler, Chris Botti, and Mick Jagger. We also see some studio shots featuring Phil Spector (once the hottest music producer, now incarcerated), and concert footage of Talking Heads, Ray Charles, The Rolling Stones, and the Concert for Bangladesh. It's especially fitting to see Luther Vandross as a back-up singer to David Bowie's "Young Americans", and to hear from Sheryl Crow, who worked as Michael Jackson's back-up/lead female. These are the examples of the back-ups who successfully made the walk.

My only minor quibble with the film is structural, not content. Neville has an over-whelming task of addressing each of the individual stories, while also relating it to the nasty and unfair music business, the Civil Rights movement, the development of Rock and Roll, and the role that "talent" plays in what Springsteen terms the "complicated" walk from back-up to lead singer (the titular 20 feet). The segment focusing on Merry Clayton's role in Lynyrd Skynyrd's "Sweet Home Alabama" is especially poignant. Overall this film is fascinating and entertaining, and makes a great companion piece to Standing in the Shadows of Motown (2002) and Muscle Shoals (2013).